By Sonya Andermahr, Lawrence Phillips
Bringing jointly top foreign students of up to date fiction and sleek girls writers, this booklet offers authoritative new serious readings of Angela Carter's paintings from quite a few cutting edge theoretical and disciplinary methods. Angela Carter: New serious Readings either evaluates Carter's legacy as feminist provocateur and postmodern stylist, and broaches new flooring in contemplating Carter as, variously, a poet and a ‘naturalist'. together with insurance of Carter's earliest writings and her journalism in addition to her extra greatly studied novels, brief tales and dramatic works, the e-book covers such themes as rescripting the canon, surrealism, and Carter's poetics.
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Additional info for Angela Carter: New Critical Readings
This ominous promise comes to fruition in Rapunzel’s bath; Gothel bathes Rapunzel well into the girl’s adolescence and Rapunzel tells 8 Carter alluded to this maternal bondage by comparing a woman in labor to a wolf with a paw caught in a trap (Bloody 227). Mother-Daughter Relationships in Theory and Text 25 us that “Mother Gothel spends a great deal of time washing between my legs, and I’ve always let her” (182). Gothel molests Rapunzel in her bath just as she herself was raped by her father during her bath.
Yet this conclusion comes at the end of a chapter about the difficulties and dangers of uniting with a person from whom one has never truly separated, whom one has never truly understood as different. Rich eloquently describes a constant identification between mother and daughter, hazy ego boundaries that provide a more fluid sense of self but can also threaten to overwhelm that self; these elements are essential to many feminist psychoanalytic understandings of feminine personality through the 1970s and 1990s.
Miller, Irigaray, and the Stone Center theorists argued are characteristic of feminine subjectivity as well as the mother-daughter matrix generative of that subjectivity. Revision not only incarnates prior versions of the tale, but it is also identified with those versions by looking toward its own revision, just as Chodorow argues that a mother of a daughter usually experiences a simultaneous identification with her own mother as well as with her infant daughter. Insofar as a revision both requires and embodies its older version, the revision does not destroy its mother-story, but instead re-creates and prolongs its life just as Vanessa Joosen argues when she notes that the “ever-growing corpus of fairy-tale retellings … help[s] to keep the interest in the old tales vibrant” (2).